When: Sat., Sept. 1, 10 p.m. 2012
When Matthew Arkell and Aaron David Ross started making music as Gatekeeper, they looked to soundtrack composers from the dawn of the synth age—Goblin, John Carpenter, Harold Faltermeyer—and their 2009 debut, Optimus Maximus, is a pitch-perfect tribute to the horror and action movies of the early 80s. Gatekeeper have since left Chicago for Brooklyn and swapped 80s cinema for 90s cyberspace. Their new album, Exo (Hippos in Tanks), sounds like the future of music as imagined by Mondo 2000-reading cyberpunks in 1993—acid house-inspired 303 squeals, driving industrial rhythms, and a vaguely tribal vibe that makes me think of dreadlocked Burning Man types doing fire dances (but not in a bad way). The cyberpunk theme is completed by a special font that can be used to decode messages encrypted into the album art and accompanying video game; the font, the art, and the game were all designed by prankish visual/performance artist Tabor Robak, who seems equally obsessed with the aesthetics of passe retro futurism. —Miles Raymer Teengirl Fantasy headlines.